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Hard work always pays off « Christopher | This I Believe

Walter's account of the third movement is broad and noble but it moves forwards a little more than Mengelberg and so seems more true to Mahler's marking of "Restful" than Mengelberg's who, in comparison only, appears more troubled. This, as so often with Walter in Mahler's slow movements, carries the feeling of the Lied, and we must never forget how much of Mahler is allied to song. A feeling confirmed when the last movement enters. Even though a quite fast overall tempo is adopted, Desi Halban is encouraged to sing out rather than meld into the texture. Halban has a very distinctive voice too, not an especially attractive one, not the usual creamy modern "diva" soprano we are often used to, and I believe this is a gain. One of the great pities of recordings of this work is that none of the sopranos achieves the childlike quality Mahler wanted and neither does Desi Halban quite. But at least she's distinctive, at least she has character. One day a conductor will engage a choir girl to sing it and then we might have a recording that gets us to what Mahler really wanted. Two conductors (Bernstein and Nanut) have recorded the work with boy trebles but the results, to me at least, sound bizarre. There is a link to Mahler in Walter's choice of Desi Halban for this recording, by the way. Her mother was none other than Selma Kurz, one of the great stars of Mahler's glittering ten years at the helm of the Vienna Opera at the start of the twentieth century and a particular favourite of Mahler‘s. For this and other reasons this too is an essential recording. Not a reference version, but one to be considered in the same way as the Mengelberg as historic and illuminating. The clear mono sound is better than that of Mengelberg but remains rather boxy and unatmospheric.

If you are only used to more recent recordings the opening will come as a shock and the shock will hardly leave you as the work proceeds. Mengelberg is more mannered and more moulded than anyone else, with sharply accentuated tempo changes forward and back, often in the space of a few bars. This extreme interventionism continues right through the work but in the first movement especially. Passages of nostalgic repose are delivered with every ounce of care and feeling, wrung from them like ripe fruit being made to yield every drop of juice. The movement contains a double Exposition and it's in the second of these you also hear the full treatment of string slides the era this performance comes from, and which Mengelberg's and Mahler's audiences would have been used to and have expected, provides. But Mengelberg is good at the menacing shadows of the work, the lyricism and the nostalgia. Though I do wonder how much we today have ears that can take the bar-to-bar control he exercises, however brilliantly or authentically. In spite of his interventions, though, the underlying pulse of the music never flags. You know Mengelberg's intimate knowledge of this music, and that of his orchestra with it and his methods, means there is clear vision right through and it's this which ultimately saves the recording and makes for a remarkable experience. In the centre of the movement comes one of the few points of real crisis as the music is whipped into a dissonance that comes down on a trumpet fanfare Mahler will later recall at the start of his Fifth Symphony. Mengelberg's treatment of this shows him aware of the link forward, but he is also aware enough of the internal structure of the movement to make the clinching climax that follows it soon after more imposing where nostalgia and good humour carry the day. Following this, Mengelberg's second movement sees very much the same approach. He invests every bar with character and detail. We also hear what a superb instrument the pre-war Concertgebouw was and how at home they were with Mahler's music. Note especially the mellow sound of the superb principal horn. In general this is an orchestral style and sound now lost in an age where orchestras sound alike.

Following concert performances in October 1970, Jascha Horenstein went into Barking Town Hall in London with the London Philharmonic to record the Fourth (in between bursts from pneumatic drills doing road works in the street outside). This was to be one of the first recordings for the new Classics For Pleasure bargain LP label and the result was musically deeply satisfying even though the sound on the LP left a lot to be desired. For what ever reason, the recording failed to sell very well so was never really considered among the recommended versions in the way others have been down the years. Then for a long time it was out of the catalogue leading many to be unaware of its existence until a fine remastering job was done for an LP reissue by CFP in the 1980s. Now that remastering has been reissued for CD (5 74882 2) and it can more than hold up its head among the greats at last. Horenstein's first movement starts out a degree more distanced than Kubelik's, less distinctive, but just as aware of the work's special tone colouring. Compared with Kubelik, Horenstein is more "through-thought" and symphonic, preferring a slightly tighter rein on proceedings. So this is not a performance in the Mengelberg tradition. Horenstein was a different kind of conductor even though he admired the Dutchman. Even so, this is Horenstein more unbuttoned than we are perhaps used to, showing what anyone who has ever heard his recordings of Viennese Waltzes knows that he can charm and beguile with the best of them. Listen to the way he gets his cellos to slide if you want more convincing, for example. In the Development a slight hesitancy pays off in introducing a degree of trepidation. As if, master of the developing argument that he was, Horenstein makes us aware that the one true crisis in this work is casting a very long shadow back. His slower tempo, judged to near perfection, allow for the ghosts to peek out from the filigree with real drama and the climax itself to be grand and imposing. So the first movement under Horenstein is remarkable for its structural integrity, breadth, but also charm, delicacy and feelings of menace. Again in the second movement Horenstein is that bit more distanced from the music than Kubelik and some others - his woodwind not quite as prominent and his tempo just that little broader - but this approach is not to be discounted. By keeping a degree of distance Horenstein seems to accentuate the dream-like quality. His clarinets chuckle wonderfully and there is a trace of elegy in the Trios Kubelik misses rather. More nostalgia with Horenstein, I think. I also like the way the music seems to be fading into the distance as the movement draws to a close. It is as if we are walking away from the scene.

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Another conductor associated with Mahler in his lifetime, though to a lesser extent, is Otto Klemperer. There are a number of "live" Klemperer recordings of this work available but my advice is to stay with the studio recording (EMI 7243 5 67035 2 0) which dates from 1962 and is the first of the modern stereo recordings for us to consider especially now it has been remastered for the Klemperer Edition. This recording is frequently overlooked by surveys of this work and I think that's a pity because it has a lot going for it, not least Klemperer's mordant wit, structural integrity and superb ear for detail. It's certainly superbly played and recorded with Walter Legge in the control room and the great Philharmonia Orchestra in front of the microphones. The first movement is a lot statelier than under Walter or Mengelberg. In fact, it's on the fringes of being underpowered. But there are gains in the much clearer detailing of textures and parts, notably the woodwinds, always a fingerprint of Klemperer. Not for him the excessive indulgence of Mengelberg, or the softer grain of Walter, however. For Klemperer everything is clearly presented in bold, Breughel-like primary colours. The crisis on the dissonance emerges superbly from the structure, always a strong point in a Klemperer account, bold and grand. So too does the "big tone" Mahler asks for in the climax that follows. True, he misses some of the sourness, some of the filigree lightness too, but overall the distinctive playing is a joy. If the tempo seems a little under-paced in the first movement in the second it seems right where Klemperer's primary-colour sound palette again pays off along with our first real experience Klemperer's divided violins, left and right. There's no lingering for effect in the Trios but that's in keeping with the astringent approach, allied to superbly balanced recording. It's in the third movement the biggest surprise awaits us.

Hard Work Pays Off « Brandon | This I Believe

Through all the hard practices and all the tiring games I realized that there may be a reward waiting on me. I started getting lots of letters from all different colleges. I realized that I could get a scholarship because of all of the hard work that I had done on an off the field. I hope at the end of this year some college has seen my talent and is willing to give me a scholarship for all my hard work.

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Rafael Kubelik's recording with the Bavarian Radio Symphony Orchestra can be found singly on a Deutsche Gramophon Eloquence release (469 6372), otherwise it's in the boxed set of his complete cycle. As always Kubelik's tempi are on the quicker side compared with others, but this is never at the expense of inner detail, quite the opposite in fact. Early in the first movement notice the solo clarinet chugging away around the strings and listen also to how Kubelik sours the music in the Development. He has a great line in the grotesque with the bassoon especially memorable and, as the central crisis approaches, notice too the squeals of flutes and oboes. In fact at this point Kubelik is perhaps the most harsh and most abrasive of all. Kubelik is another conductor who realises this symphony needs a particular treatment, a light touch in front of the grotesques for them to make a more distinctive mark. The climax on the dissonance is superb with the bass line especially accentuated by the sharp recording against the piquant woodwind. Then, when the music resumes, the effect is like that of a day dream passing, which seems to me to be what Mahler intended. The second movement follows on from the kind of mood Kubelik is trying to portray in the first with the solo violin balanced forward to make its "out of tune" effect well. Then the Trios strike a very four-square pose with clipped woodwind contributions attended to in a performance that radiates attention to detail right down to really malevolent clarinets at the close. A fine prelude to the lovely performance of the slow movement where Kubelik maintains the same kind of singing line as Walter. He even brings in the movement at around the same overall timing as Klemperer but by speeding up more in the faster sections gives himself that little more space in the lyrical passages. So his handling of the surprisingly many tempo changes, some of them quite drastic, in a movement too often referred to as the "slow" movement is one of its most remarkable features. Not least the passage between 222 and 282 we noticed under Klemperer where Kubelik is even more convincing in handling the step-by-step increase in tempo. I also want to draw attention to the way Kubelik treats the sound of woodwind against strings in this movement and how they are reproduced in the recording. One early commentator dubbed this delicate sound ("Tone-colour Melody"), a term used later by Schoenberg and that link between these two great Viennese composers never seemed more significant in these passages as interpreted by Kubelik. Again the soprano in this work, Elsie Morrison, fails to really deliver a childlike response in the last movement, but she sings with great meaning and Kubelik seems more anxious than most to mark the relationship between aspects of this last movement and the second. The faster sections also are very impish and the work is rounded of beautifully.

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“ So as you can see by my story working hard, giving your best effort, and never giving up is very important and this is why I believe that people should work hard at whatever they do even if they don’t like what they’re doing, they should still give it 100 percent effort, because hard work pays off. ”

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Linda Carrascal Enc 1101 Prof. Uszerowicz I believe hard work pays off. When we are young we think everything is easy, but as we grow we learned that its

One brief sidelight on Kubelik's recording which I leave you to ponder is the following. In 1900 Mahler told Natalie Bauer-Lechner that the Fourth Symphony would last forty-five minutes, which is a surprisingly short amount of time when you consider most recordings and performances. But notated in pencil in the autograph score, on the title page of the fourth movement, can be seen the numbers 15, 10, 11, 8 and 44 which is their total. Do these represent Mahler's ideas for the duration of the movements ? If so they are very quick, much quicker than we are used to. Of all the recordings before me Rafael Kubelik's comes closest: 15:48, 9:05, 18:50, 7:58, which total 51:41. The third movement is the problem, but since Kubelik is one of the two fastest, a few seconds only short of Klemperer, we can allow for that if we accept the figures for what they appear to be. Whatever the truth, for me Kubelik's recording is one of the supreme accounts of this work. It's care for detail, its sense of the special sound of the piece, but above all its care for this work as it stands rather than as precursor of what is to come make it a must for all aspiring and established Mahlerites. It lets the symphony be itself.